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women looks very soft. There is no pity emitting from the painting. Clements examines the theory that
Gentileschi was painting herself as a martyr saint to reflect how she felt when she was raped as a teenager years before. She concludes that Gentileschi's portraits revealed that she did not want to have her past be one of pity and dismay; she denounces the theory that Gentileschi painted herself as a martyr only because of her famous past. Susanna Scarparo portrays Gentileschi as a painter that struggled to be recognized for her skill in the arts rather than being famous for what happened to her in her past. She critiques how previous writing on Gentileschi focused on this rather than her artwork. Gentileschi is one of only a few famous female artists recognized in the 17th century and the first Italian women to specialize in Italian painting. Gentileschi's one of many great achievements was being the first women to join Florence’s Academy of Design. Over the years Gentileschi has made many self-portraits and painted mostly only women in different environments, but only one of her as a martyr.
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was very popular for many artists at this time to depict their self-portraits with a turban, but this was not done to depict a certain saint. Since the painting does not appear to have been cut down in size, the painting is also accurate to what
Gentileschi painted. It is unusual in this time period for there to be a painting of a martyr that lacked the attribute of a specific saint in the painting. Artemisia Gentileschi painted self-portraits as several different people in many of her artworks, such as the
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and artists would be hired to paint certain saints. The goal was to have the onlookers be filled with emotion while looking at the pieces. Baroque art was even used in political religious settings. This particular baroque painting is believed to have been made during the artist's time in
Florence, based on both the appearance as well as some supplier records discovered in archives. The date is recorded as 1614 but since the new year in
210:, who lent it to an exhibition in Florence in the 1760s. The painting was in Hugford's possession until 1779. Later on, the painting was in the collection of Martha Beavan née Wallaston of Leintwardine, Herefordshire. At one point Newhouse Galleries had this painting in a private collection in 1995. The self-portrait was sold at Sotheby's London December 9, 1987.
138:. If the palm frond was not there, the self-portrait of a woman martyr would turn into just a regular self-portrait painting. It was very common in the seventeenth century for women to be painted as biblical female martyrs; because paintings of woman were meant to emit innocence, having saint like features and doing saint like acts was seen as the ideal woman.
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Enrica Guerra suggested that the awkward proportion of the hand in comparison to the head suggests that it may have been added at a later stage. The only major change besides the hand in the painting is that
Gentileschi painted a turban on the woman, though it is unknown when this change occurred. It
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The artist, Gentileschi painted this portrait depicting herself as a female martyr when she was twenty-two. Helen
Clements describes Gentileschi’s painting as portraying herself in a gentle and more intimate manner. Clements commented on the way Gentileschi looked in the painting mentioning that the
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artwork. In the seventeenth century, Baroque could be seen as any medium of art from painting, sculpting, ceramics, to many more. Baroque art is also used in many
Catholic settings, such as churches, and is used in public domains. The art represented important moments in the Bible that were revered,
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There has been much debate over whether
Gentileschi had painted herself or a specific saint. It was noted by Keith Christiansen that the painting had to be a self-portrait of the artist instead of a Christian saint because of the physical features in the self-portrait. The description of the woman’s
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An inscription on the reverse confirms that it is painted by the artist
Artemisia Gentileschi. The inscription is written in Italian which Inscribes: Di Mano di Artemisia figlia di A.rili.Lomi/Pisano Nipote di Orzio. This roughly translates to: Di Mano di Artemisia daughter of A.rili.Lomi/Pisano
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The painting was made on a wood panel in oil paint. This was unlike
Artemisia Gentileschi's usual method of painting, which was usually done with oil on a canvas. Gentileschi would use a technique called sfumato which is when paint is delicately blended together. She would usually use a black
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background while creating her artwork. Gentileschi also put an emphasis of realism in her works of art. Mary
Gerrard mentions how the size of the panel can also hint at intimacy. The panel being smaller indicated that it was a more private meaning and may be a part of some sort of symbolism.
194:, who had already established a reputation there. Yael Evan mentions that Gentileschi desired to be treated as if she was a male painter. During this time period, women were not allowed into any academy of arts. Being seen as a male painter in that century would have been a great honor.
95:. This self-portrait was made around 1615 depicting the artist herself as a martyr. It is one of two paintings by Gentileschi painted with oil on a wood panel. This self-portrait is currently in a private collection in the United States.
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bow lips, the dip in the nose, and round face are identical to Gentileschi’s features. These features were also similar to another one of Gentileschi's paintings she made around this time period,
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329:. Judith Walker Mann, Orazio,? Gentileschi, Artemisia, or 1653 Gentileschi, Museo di Palazzo Venezia, Metropolitan Museum of Art, St. Louis Art Museum. New York: Metropolitan Museum of Art.
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did not begin until March the date is technically 1615. The work is signed "Artemisia Lomi", the name she assumed while working in Florence to associate herself with her uncle
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in her hand. The depiction of palm fronds was a way to symbolize said martyrdom. This representation goes back as early as the
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Painting beyond the canvas : an antithetical visual statement by women artists of the sixteenth and seventeenth centuries
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Lastly, Gentileschi's use of rose drapery and lapis blue paint is similar to the paint in
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Artemisia Gentileschi and the authority of art: critical reading and catalogue raisonné
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The painting was originally made in Florence. The painting was in the collection of
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31.75 cm Ă— 24.76 cm (12.50 in Ă— 9.75 in)
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yet this was the only Gentileschi did where she depicted herself as the saint
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Portrait of a Lady, dressed in a gold embroidered costume
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Artemisia Gentileschi and Feminism in Early Modern Europe
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This painting was created by the Italian female artist,
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This article about a seventeenth-century painting is a
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Even, Yael; Bissell, R. Ward; Garrard, Mary D. (2002).
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Judith and her Maidservant with the Head of Holofernes
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Artemisia Gentileschi : the language of painting
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628:"Artemisia Gentileschi and the Authority of Art"
1184:Saint Januarius in the Amphitheatre at Pozzuoli
927:Self-Portrait as Saint Catherine of Alexandria
718:""Artemisia": The Invention of a 'Real' Woman"
158:Self-Portrait as Saint Catherine of Alexandria
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484:"The Palm of Martyrdom, The Crown of Victory"
122:The artist depicts herself in the style of a
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405:: CS1 maint: location missing publisher (
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1205:Self-Portrait as the Allegory of Painting
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145:Self-Portrait as the Allegory of Painting
267:. Pennsylvania State University Press.
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225:List of works by Artemisia Gentileschi
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1432:Paintings by Artemisia Gentileschi
521:: CS1 maint: unflagged free DOI (
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16:Painting by Artemisia Gentileschi
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1040:Portrait of a Lady Holding a Fan
920:Self-Portrait as a Female Martyr
764:ffolliott, Sheila (2021-02-24),
326:Orazio and Artemisia Gentileschi
168:Painting Materials and Technique
89:Self-Portrait as a Martyr Saint.
83:Self-Portrait as a Female Martyr
24:Self-Portrait as a Female Martyr
1219:Christ and the Woman of Samaria
1318:Virgin and Child with a Rosary
913:Self-Portrait as a Lute Player
780:10.1093/obo/9780199920105-0164
685:Clements, Helen Marie (2006).
481:Merriam, Thomas (2005-06-01).
151:Self-Portrait as a Lute Player
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948:Saint Catherine of Alexandria
1380:. You can help Knowledge by
1055:Christ Blessing the Children
1018:Mary Magdalene as Melancholy
583:Mullett, Michael A. (2023).
323:Christiansen, Keith (2001).
1452:17th-century painting stubs
876:Judith Beheading Holofernes
774:, Oxford University Press,
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1284:Judith and her Maidservant
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1033:Portrait of a Gonfaloniere
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715:Scarparo, Susanna (2002).
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1010:Judith Slaying Holofernes
941:Mary Magdalene in Ecstasy
539:Garrard, Mary D. (2023).
261:Bissell, R. Ward (1999).
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1091:Esther Before Ahasuerus
898:Allegory of Inclination
767:"Artemisia Gentileschi"
425:Guerra, Enrica (2022).
111:Allegory of Inclination
75:Private collection, USA
1310:Susanna and the Elders
1260:Susanna and the Elders
1241:Susanna and the Elders
1233:Susanna and the Elders
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860:Susanna and the Elders
371:Locker, Jesse (2015).
1191:Adoration of the Magi
1161:Lot and His Daughters
1147:Clio, Muse of History
1132:Corisca and the Satyr
836:Artemisia Gentileschi
501:10.1093/notesj/gji229
431:Renaissance Quarterly
93:Artemisia Gentileschi
87:is also known as the
42:Artemisia Gentileschi
1244:(private collection)
1003:Allegory of Painting
586:Catholic Reformation
444:10.1017/rqx.2022.339
633:Woman's Art Journal
181:This painting is a
104:Grandson of Orzio.
1447:Portraits of women
1352:Orazio Gentileschi
1069:Penitent Magdalene
545:. Reaktion Books.
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891:Portrait of a Nun
868:Madonna and Child
789:978-0-19-992010-5
596:978-1-000-89157-7
552:978-1-78914-777-3
489:Notes and Queries
384:978-0-300-18511-9
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1348:(1997 film)
772:Art History
99:Description
1421:Categories
1171:(Columbus)
1028:(Stamford)
1013:(Florence)
908:(Florence)
795:2023-03-30
605:1371790666
561:1373835306
231:References
202:Provenance
132:Revelation
128:palm frond
64:Dimensions
1345:Artemisia
1313:(Bologna)
1271:(Potsdam)
1176:Cleopatra
1168:Bathsheba
1079:(Detroit)
977:(Ferrara)
974:Cleopatra
966:Cleopatra
844:Paintings
743:0021-3020
697:876140231
653:0270-7993
639:(1): 37.
509:0029-3970
461:255678494
453:0034-4338
401:cite book
393:877369691
283:757432735
1354:(father)
1287:(Cannes)
1279:(Naples)
1268:Lucretia
1236:(London)
1127:(Naples)
1098:Lucretia
1047:Lucretia
879:(Naples)
345:47650673
214:See also
188:Florence
72:Location
1332:Related
1050:(Milan)
969:(Milan)
751:3656098
723:Italica
661:1358966
183:Baroque
177:History
51:c. 1615
1263:(Brno)
1179:(Rome)
1142:(Rome)
1106:Aurora
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124:martyr
56:Medium
38:Artist
1302:1650s
1252:1640s
1116:1630s
1062:Medea
958:1620s
884:Danaë
852:1610s
747:JSTOR
657:JSTOR
457:S2CID
136:bible
1378:stub
784:ISBN
739:ISSN
693:OCLC
691:. .
649:ISSN
601:OCLC
591:ISBN
557:OCLC
547:ISBN
523:link
505:ISSN
449:ISSN
407:link
389:OCLC
379:ISBN
341:OCLC
331:ISBN
279:OCLC
269:ISBN
155:and
48:Year
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